I never really knew what Lydia Loveless looked like until the run up to the release of this album. I’m serious. I had seen plenty of promotional pictures of her, numerous videos of performances, and have even seen her live a number of times. But I had no idea what she looked like.

This may seem like a nominal point to make, or maybe even a shallow one or even somewhat creepy to say about someone who makes their living via audio emanations, and any visual component should be ancillary. What do I even mean that I didn’t know what she looked like? What does that have to do with her music?

Part of the reason I had such difficulty discerning who and what Lydia Loveless was had to do with the fact that she frequently changed her hair, dress, look, etc. But the other part had to do with the fact that she was hiding from all of us. Lydia Loveless didn’t want us to know what Lydia Loveless truly looked like. It was too intimate for her. So she hid from us, in plain sight. And though at times she bore her effervescing moments of self-doubt and loathing fearlessly, and it resulted in some of her best work, and some of the most critically-accepted music in alt-country/Americana in recent years, she kept herself hidden. Only her words and voice was she willing to share. But even then in a slightly guarded manner.

And now Lydia Loveless is starring in a video where she’s in bed in her underwear, inviting the camera into her bedroom, not only symbolically but literally bearing herself to all, showing us who she is not just from confidence, but from not giving a fuck what anyone thinks about her anymore. It’s not that I cared what Lydia Loveless looked like. It’s that I cared why she didn’t want anyone to know. Now, upon the occasion of her fourth album, she finally letting all of us see, and hear, who she truly is. This is the “Real” Lydia Loveless.

And the real Lydia Loveless is not country, alt-country, Americana, or any of that. She is a dark-hued power pop artist with advanced lyricism and a snarl of attitude.

When I saw the article entitled, “The Real and Rowdy Lydia Loveless Is So Over The ‘Alt-Country Songstress Bonanza, ‘” I breathed a sigh of relief. In the article Lydia says, “I guess trying to shed that ‘honky-tonk punk’ outlook everyone has about me. I’m really into pop music, especially power-pop, and I wanted to bring that into the record and I think we successfully did that, finally. It’s trying to shed the one-sidedness of genre-specific descriptions.”

Normally, an artist either declaring or just plain evidencing their abandonment of country music, especially one who has contributed worthy music to the genre in the past, would be grounds for disappointment, or even anger. But in the case of Lydia Loveless, it’s a different story. I’m glad she said she wants to shed the alt-country label, because that’s exactly what she does in Real. But it would have come across as pointed, assholic unfairness coming from me.

That doesn’t mean it doesn’t suck that Loveless has made this declaration, or has decided to move in a decidedly non-country direction with her music. Really, her move away from country is part of a greater narrative that has been one of the biggest stories in independent country in 2016—Bonnie Bishop, Robert Ellis, Elizabeth Cook, possibly the upcoming Jonny Fritz, and freaking Sturgill Simpson. All once promising and fundamental voices in independent country have moved on in recent releases.

It has been a losing proposition for country fans throughout 2016 in Americana. That doesn’t mean any of these efforts are bad. In fact most of them are pretty good. We’re all music fans first, and then our allegiances break down genre lines. But dammit, I like country music. And I like artists like Elizabeth Cook, Sturgill Simpson, and Lydia Loveless. Screw me if I selfishly want them to continue to imbibe more steel guitar than synthesizer in their music.

But with Lydia Loveless, it is a bit of a different story. It’s questionable if she ever deserved to be labeled any more than “alt-country influenced” from the beginning (though the Hank3 attitude was definitely there early). And this is what leads to conflict. I have always appreciated Lydia Loveless when she was being Lydia Loveless. That is how despite a measured but passing grade on her last record Somewhere Else, she went on to win Saving Country Music’s Song of the Year in 2014 for “Everything’s Gone,” which she wholeheartedly deserved. By stripping the composition down, she removed all concerns or questions of genre.

Yet the reason I’ve been so guarded with praise for Lydia Loveless overall was something telling me the day would come when she shed any affiliation with “country.” As I said in my review of her debut record Indestructible Machine, “Just in the last week, I have seen her compared to Loretta Lynn, Kitty Wells, and Patsy Cline. I’ve heard her called the next Neko Case, and a cowpunk princess. Rest assured, I like this album more than I don’t. But as legendary football coach Bill Parcells once said after one decent game by a young, promising quarterback, ‘Put the anointing oil away.'”

An artist identifying Brittney Spears as an influence should not be compared to Loretta Lynn, especially when we’re just one album into her career.

My favorite Lydia Loveless record remains her quick and oft-overlooked EP, Boy Crazy. Why? Because she was being herself. She was bearing her Brittney Spears / Ke$ha fantasy unabashed, and it was fun.

But Real lacks a certain zeal or easy appeal to it that Boy Crazy had, and the enhanced lyricism compared to most power pop makes for a bit of a confused listen in spots. The reason power pop works is because it is easy. But Real is involved, both sonically and lyrically—both assets musically, but a little bit of a burden if you’re just looking to rock out to some juicy rhythms and rake your air guitar along with power chords.

There’s some great songwriting on Real, especially when the Ohio native unleashes her Midwestern angst upon “some shitty Indianapolis band,” or some guy who wants to lock her in a kennel “and then leave for Myrtle Beach at 5.” But, you know, I’m a bigger country fan than I am a power pop fan, so I tend to feel like the appeal of Real strikes me with only a glancing blow as opposed to a dead on haymaker. So I’ll probably cherry picks some tracks and move on.

That’s not meant as a slight to Lydia Loveless, just like none of my previous trepidations about her music have been. Since she’s on Bloodshot Records, and because many “country” and Americana outlets continue to cover her music—like Shooter Jennings and others who will vociferously tell you their music is not country yet will go ahead and take advantage of the media and journalistic infrastructure of country due to their career’s lineage—you feel obligated to voice your opinion. Lydia Loveless can say what she wants, but her lane is Americana, if for not other reason than there is no lane for power pop from a once alt-country girl from Ohio with heartfelt songs.

So if you like Lydia Loveless’s Real, that’s all that matters. Because on this one, there is no half measures, no subterfuge, no misappropriated plaudits. It’s just Lydia. And all that we can ask from artists is to be themselves and to do their best. And on this record, Lydia Loveless has done both.

It just may not be the best listening for all country fans. And that’s okay.

Great review of a difficult issue. While I’d prefer she stay more in the country vein (because she’s so damned good at it), I have enough respect for her talent to not begrudge her move into more genre-agnostic music.

I’m from her hometown and have seen her live and around town. Heck, I’ve even met her. Her husband Ben, an upright bass player used to play bluegrass in various bands around town, he’s super nice. She’s a bit shy and aloof. Everyone has compared her to Loretta and Neko and she hates it and told me so, more or less. I think her voice is amazing and the songwriting is great as well.
Imho: One thing that could be an issue for some fans, not all by any means, some…is her proclivity for major profanity onstage. It was a bit jarring honestly especially when the show is supposedly family friendly. I could see her at the next level if she cleaned it up a bit. Again that’s my opinion , definitely not hers. It does contribute to the punk comparisons that critics eagerly bestow upon her.
All that said, she’s a real deal rural farm gal from southern ohio and it gave her major country cred in my book. Yeah, I’m bummed she’s going pop, but it’ll be interesting to see how big she gets. Still, I think about what could have been.

Face it… Lydia is simply one of the most talented singer songwriters alive today. She can write and sing any style better than most in any genre. She just doesn’t have a one track mind.
Coshocton is in Northeastern Ohio.

Thx for the correction Parker, I happen to be from and live in Columbus, her current hometown. I was under the impression she was from down in Ports mouth but hey , you know I don’t always get it right. I did read about her being raised on a family farm that they unfortunately lost due to finances and hard times. And if that ain’t country, I don’t know what is! Oh and I’ve been to Coshocton btw, they have this quaint little place called Roscoe Village and a remnant of the old canal system that tourists visit.

“One thing that could be an issue for some fans, not all by any means, some…is her proclivity for major profanity onstage. It was a bit jarring honestly especially when the show is supposedly family friendly. I could see her at the next level if she cleaned it up a bit”

The public forum should be appreciated from a point of view of respect . Anyone who makes a living spending time in front of the public, no matter what your business , would be aware of how un-cool it is to disrespect people with profanity and, make no mistake , you will ALWAYS disrespect someone with this immature and unnecessary approach . Maybe she’ll ‘ grow up ‘, as you seem to be saying, and understand that a long term career is ALL about respecting fans and the business for giving you the opportunity to ply your trade . Profanity is just bad business , if nothing else . A friend recently saw Kacey Musgraves in concert ….LOVED the songs , the band etc…but was offended by some of the language. Yes …you can argue that people should know what they are getting and yes …if you’ve gone to a show you WILL know next time . IF you allow that performer a next time ! The use of

I hear you Parker and I know that what you point out may be true . I’m just saying that there is no good reason to use profanity UNLESS you’re playing a character that uses it or you’re trying to profit by pandering to a specific taste . I really don’t see how an honest musical artist needs to risk disrespecting folks by attempting to come across as ‘cool ‘ in that way . I don’t see how it does anything for their cred that their music shouldn’t be doing if they are sincere about a career and not just ‘ playing a character ‘ for $$$$ . Respect .You don’t wear a hat in a Legion or Veteran’s club ( at least not in Canada ) .That may sound old school but I view it as reminding us WHY we don’t . Respect .

BTW Parker ( and Lydia ) This is a nice tune and fearless in its use of melody , chord choices and movement . Not country …but a good honest track ( real voices , real players etc.. ) in my humble opinion .Mindy Smith comes to mind as another artist who seems to take that same approach …and that’s great company , I think .

In other words, you are a hypocrite that dwells in a world of moral relativism. Eh? What I say, “may be true?” It is true and you know it. But you prefer putting your fingers in your ears and yelling, “lalalalala,” and think you hear no evil, see no evil. Have it your way. I doubt you have made a difference.

Seems like a pretty harsh judgement there Parker. I listen to music with cuss words all the time, or go to shows to see performers who regularly use profanity. I even write profanity upon occasion, just like I did in this review. But if the profanity is excessive or over the top, I always include a warning. That seems like a simple way to avoid conflict. I don’t have a problem with profanity, but I also don’t have a problem with someone else who does. Especially when you enter the realm of country music where it is not as widely accepted. I think we can all accept that people have different value systems, and though some people are probably too uptight, I also just don’t see the value in insulting somebody accidentally.

Yes Albert, the public forum should be protected from such things as, The red carpet, women kissing on live television, and such other offensive modern stuff? I don’t know, perhaps if we query a large number of Christian or Catholic women who don’t believe in birth control and have six, seven, eight or fourteen children, if they’ve ever heard the word… fuck? Just asking/

I don’t appreciate you trolling up and down my comments section and attacking my readers. You appear to be a very judgemental, down looking individual, and that’s not the kind of person I want participating in this website. I want folks who respect everyone for their opinions and beliefs and can engage in healthy, if at times harsh and pointed, dialogue.

I saw her open for Isbell about a year ago in a sold out small theater. I could barely make out what she was singing, and the instrumentation was all just loud. I want to believe it was just an issue with the sound system, but it kinda soured me on her music. I’ll try to go into this one with an open mind.

Hey trigger… I recall you making snarky judgements on Lydia’s complexion . You are as big a hypocrite as many of your fans. You did comment on Lydia’s complexion. Face it, pal… Your issues with Lydia are simply with her gender and you would never talk about men the way you talk about Lydia. You are either a jealous flop or you are man without a hook to hang your hat on.

And where is the proof of these accusations? Do you have a link? Trigger complimented Lydia, and now you are attacking him? Because he asked you to tone down your insults? Childish tantrum much? Why don’t you go be a jerk somewhere else

Next was Lydia Loveless and her off-the-straight-and-narrow country punk princess approach to alt-country, not caring what her hair looks like of if she’s taking proper care of her skin. Those things aren’t Lydia’s bag if you listen to her music. She’s here to squeeze every last drop of juice out of her life.

Any idiot could see that quote is matter-of-fact, not an insult. Taking things blatantly out of context is a weak and childish way to argue your point. You have zero class, and the apple didn’t fall far from the tree

I certainly don’t recall making any comments about Lydia’s complexion. I’m not saying that I didn’t, I write a lot of stuff. But I just did a search and looked through all my previous coverage and I’m not finding anything. Do you have a screenshot, quote, link, or something else to corroborate that?

“Your issues with Lydia are simply with her gender and you would never talk about men the way you talk about Lydia.”

I would invite you to do some cursory poking around my site before making that assertion. I don’t think that’s correct. The last time I featured Lydia Loveless on this site it was to say her song “Everything’s Gone” was the best song in all of 2014.

If you are her father (which I will take your word at), then I can understand your desire to defend her at all costs against folks who may paint a less than rosy image for your daughter. But I am a critic, and the reason so many folks come here as opposed to the countless outlets who only post puff pieces about artists so they get complimentary reposts via social network by the artists and labels, is because people know that I will be brutally honest with them.

This was a very difficult review for me to write, just as every Lydia Loveless review has been. My opinions about her and her music are very involved and convoluted, but at no point has there ever been a loss of respect for her or what she does. The reason I criticize Lydia’s music is the same reason I criticize all music: because I care. I think it is a sign of respect to an artist to be as brutally honest with your opinions as possible. Lydia has received plenty of puff pieces. Trust me, I’ve seen them. Don’t think for a second that the words I posted were all not very thought out and deliberate. I listened to this album over and over, delicately crafted this review, painstakingly considering my words and my opinions, questioned myself, rewrote things over and over, obsessed over this review, and spent large amounts of my time to write it, just like I do all the reviews I write. Lydia put her life into this record, and the least I can do is to listen and consider it intently if I choose to review it, and then be honest about it. If you think this is a negative review, then welcome to Saving Country Music.

I thought Albert was trying to engage you in a thoughtful discussion, and you decided to pass judgement on him. Attack me all you want. I’m used to it. I’m the most vilified man in country music media. But I am a firm believer that EVERYONE’S opinions about music are viable and worthwhile, including, if not especially, yours, and all of my readers. So when someone tries to engage in thoughtful discussion and gets turned away with judgement, I am going to react.

Congratulations on all of the success your daughter has received so far, and I hope for nothing but continued success for her in the future. If I was in your shoes, I would be proud, and quick to defend her as well.

Actually you did make the comment and you did it about 2012 re her sxsw show at yard dog and her husband ripped you for it too. So don’t deny it. Perhaps you have deleted it? I called you on it then and I am calling you on it now. You know you did it.

“Next was Lydia Loveless and her off-the-straight-and-narrow country punk princess approach to alt-country, not caring what her hair looks like of if she’s taking proper care of her skin. Those things aren’t Lydia’s bag if you listen to her music. She’s here to squeeze every last drop of juice out of her life.”

First, off, I never said that quote was “non-existent.” This is what I said:

” I certainly don’t recall making any comments about Lydia’s complexion. I’m not saying that I didn’t, I write a lot of stuff.”

But after we had our initial “conversation,” I went back to attempt to find what was being referenced. What I thought is maybe a commenter had said something and it was tied to me. And then I found the quotes from 2013. You said 2012, but I did not attend Yard Dog in 2012.

As soon as I read those comments from 2013, I remembered exactly where they came from. They didn’t come from me, they came from Lydia Loveless. Lydia spent much of her set saying things like “My hair’s all fucked up today” (it was pretty humid, as Texas can get), trying to get her drummer laid, and said something specifically about her skin herself and how she “didn’t give a fuck” about it. That was her attitude throughout her set, and that’s what I iterated to my readers through my review.

Now of course you can say that I’m just making this up, but I was there, and I have the photographs to prove it.

But beyond all of this, I find it astounding that weeks later, you’re still coming here to lobby for your point that I am a sexist Lydia Loveless hater, when all I have tried to do, and numerous readers have tried to do, is have a conversation with you. And instead, you spit in our faces.

If I am a sexist, meaning I purposely want to downgrade women, and knee-jerk hate Lydia Loveless, then why would I say that a Lydia Loveless song is the best song in all of music in 2014? Why would I give her record here a positive review? Why would I have NEVER written a negative review for anything Lydia Loveless has ever done? Why would I include her on “Best Of” lists, including on this year’s Best Songs So Far list for her duet with Austin Lucas? Why do I do any of this stuff when it would be super easy to ignore her, or at least not say positive things about her?

Frankly, I don’t think you’re representing the Lydia Loveless camp well. I think you’re helping perpetuate the idea that she and the folks around her are “too cool for school,” which keeps many peering on the outside looking in to her music. The reason I and others are discussing her music is because we want to understand it, but you just want to keep fighting. I don’t offer criticism because I hate music, but because I love it, and I want it to improve, and I want Lydia Loveless to improve. But you’ve made it patently clear that you’re not ready for this level of discussion.

Disagree with me all you want. I LOVE when folks come here and offer different and differing viewpoints. But your vitriol is doing more harm than good for Lydia. In my opinion.

I can’t do this music, I’m not sure why, My favorite genres are Country and Punk, but something about her mix of Emo/country just gives me the creeps. I can’t place why I can’t stand it, but props to her for making what she wants to make and people liking it.

She got a wonderful voice. But what I react to is, as I’ve done many times before, it’s the backing music. Why does everyone has to bang chords on a electric guitar. It’s used so often that it gets boring…

I mean there are other instrument. Even if you singing pop… This is why I so often mentions First Aid Kit, I love them for having made three album, (and I consider them a pop-band), without using electric guitars on every song…

And I would really like to hear an album with her produced by their producer…

I thought her last album was pop,or pop-rock? I sure didn’t catch any country on it, and it didn’t matter cause it was a great album. Everyone hailed her for it This song sounds like it could be on that album.

I know what you mean when you say “I had no idea what she looked like”

Two years ago I was in this small venue nearby, and I mean really really small, fifty seats or so.
Before the show I was waiting in the queue for the only toilette, with this girl. After I realized: “holy shit, that was Lydia Loveless!!” 😂

Damn , Diego . I can’t think of any big name celeb I or any of my friends have shared a toilet with . Now THAT , my friend , is a serious ‘brush with greatness’ …..LOL…..LOL…
( did you really mean to say ‘ Holy Shit ‘?.)…lol

( Parker …..I don’t mean anything whatsoever by this comment…..just funnin’ Diego. I still really like Lydia’s song and Diego is a very LUCKY fan ! )

Gotta say that I was not a huge fan of her previous stuff, though I do like this album better. All the bands/artists mentioned above as comparable are pretty spot on. I was never really into them either, so it stands to reason that this isn’t my cup of tea. But good for Lydia and whoever likes this, because it is good, just not my thing.

Trigger also mentioned Elizabeth Cook in the piece. Didn’t really care at all for her earlier stuff, but “Exodus of Venus” is one of my favorite albums this year. No, it’s not country, but, damn, is it good.

Music is so subjective and I’m not even going to broach the genre subject. Listen to what you like and enjoy it. Let the critics be critics. I write about music myself but in a totally different way than it is presented here. I’m not so much a critic as a promoter of stuff I like . To each his own.

My feeling on the new Elizabeth Cook album is similar to my feeling of Sturgill’s new album. I knew she was going in a different musical direction, which didn’t scare me off. When I got the album, I found that I enjoyed it a lot, but not as much as previous efforts (e.g., I love Balls, Welder and the Gospel Plow EP). Still a fan, though.

I’m starting to warm to the diversity of this new album. I absolutely love her voice, so she could be singing over rush hour traffic and I’d be ok w/ it. I love that she kept some steel in with the really great pop hooks. Some great songwriting and lyrics on this record for someone any age, but she’s 25! “Out on Love” is absolutely amazing in delivery and mood. The kind of stuff we used to get served regularly by Paul Westerberg back in the day. One of my heroes. Good luck with the new record!

I’m probably more of a power-pop guy than I am a country guy as far as listening for pleasure, and I think Real will probably be my favorite album of the year. I’ve been into Lydia since her first record(and I love Boy Crazy too, Trig), and I like the direction she’s going. She has that “thing” ( to my ear) that Westerberg had in the Let It Be and Tim era Replacements. I hear Big Star/Mats and other solid influence in there,and it makes me smile…Just what music is supposed to do! Cheers!